By Alison Rowley
This remarkable exam of the paintings of 'colour field' painter Helen Frankenthaler overturns assumptions in regards to the artist, whose paintings has been confused by means of its label as 'the bridge among Pollock and what used to be possible'. expert as a painter, Alison Rowley brings a willing eye to Frankenthaler's work, returning to the fore the artist's debt not just to Jackson Pollock but additionally to Cezanne, and speculating for the 1st time as to her inventive responses to wider political occasions, specifically the Rosenberg trial. creating a attention-grabbing case, too, for the connections among the 'breakthrough' paintings "Mountains and Sea" and Lily Briscoe's portray in Virginia Woolf's novel "To the Lighthouse", this fantastically written publication offers an important new insights into Frankenthaler's perform, as a painter who's additionally a lady.
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Extra info for Helen Frankenthaler: Painting History, Writing Painting (New Encounters: Arts, Cultures, Concepts)
Sample text
In To the Lighthouse Woolf imaginatively concretises Fry’s generalised speculations; she links an account of the ‘distinctive esthetic activity’ of painting, Revised_layout_Alison_Rowley:Layout 1 16/8/07 10:56 Page 35 1927: OTHER COUNTRIES, OTHER CÉZANNES 35 exemplified by Cézanne, with a story of human emotions experienced in response to specific events in life. I want to consider the nature of the events around which the novel is structured in relation to another text that appeared on the horizon of Woolf ’s intellectual landscape in the early 1920s.
And the inner landscape is much of a piece. Last night Mark Gertler dined here and denounced the vulgarity, the inferiority of what he called ‘literature’; compared with the integrity of painting. ‘For it always deals with Mr and Mrs Brown,’ – he said – with the personal, the trivial, that is; a criticism which has its sting and its chill, like the May sky. Yet if one could give a sense of my mother’s personality one would have to be an artist. 3 Revised_layout_Alison_Rowley:Layout 1 16/8/07 10:56 Page 23 1927: OTHER COUNTRIES, OTHER CÉZANNES 23 This passage contains several chains of association, which intersect at the point where Woolf conjoins two things, the idea of giving a ‘sense’ of her mother’s personality, and the image of a Cézanne painting.
Cézanne’s Country in the studio Frankenthaler’s account of making Mountains and Sea, as reported by Gene Baro in his 1967 Art International article, captures all the excitement of a ‘breakthrough’. I quote it in full here: I was then starting to use a concoction of housepaint enamel, turpentine and/or kerosene, and tube oil paints in varying amounts, mixed and spilled from empty coffee cans, both with and without the aid of wide brushes, on unsized cotton duck. Before I had always painted on sized and primed canvas – but my paint was becoming thinner and more fluid and cried out to be soaked, not resting.